Research On The Spectacle Movies From The Perspective Of Visual Culture

Nowadays,visuality has become the main cause in the social-cultural.The prosperity of spectacle movies is the manifestation of this social reality.The spectacle images attract the sight of the audience constantly,which formed the visual interaction between the subject and the object.And the interaction produces the relation which generates the significance.The significance contains projection,desire,power and self-reflection.Projection means the construction of the visual experience from the social-cultural tradition to the creator and receiver of the movie.Desire means that the audience satisfies their desire as "voyeurism" and "narcissism" in the psychoanalytic level.Power means that vision carries the significance of interpellating the audience as the tool of power.And self-reflection means that the audience completes the self-construction by the way of gazing "the other".The psychological mechanism of audience's choice of spectacle movies lies in the satisfaction of the need of the audience's physiological pleasure.The sense of ritual in the process of viewing even has turned this pleasure of one man to a collective carnival.In this carnival,the spectacle movies released the audience's suppressed aesthetic desire by the way of "stimulated awakening" that is caused by the "shocking" scenes.There are many problems in the dissemination of spectacle movies.As a commodity rooted in the logic of consumerism,the spectacle movies immerse the audience in the simulacrum by constantly stimulating their visual desire,which vanished the audience's self-awareness.The spectacle movie is also a field of ideological reproduction.The presenceof the film is based on the absence as a prerequisite,for it covered the realistic and political attributes of the image,which led to the formation of "de-politicized" invisible enslavement.As a world-class award in America,the Academy Awards carries the significance of cultural exportation,instead of being a grand ceremony of entertainment only.The cultural exportation of foreign spectacle movies must affect the development of Chinese film industry.Therefor,it's particularly necessary to develop Chinese spectacle movies.Zhang Yimou opened the curtain of Chinese spectacle movies by Hero(2002),but it didn't gain a good response at home.The embarrassment still hadn't been broke when Shadow(2018)was released sixteen years later.The problem is there are superfluous spectacle and inadequate narrative in the film and the lack of philosophical thoughts that have nationality.It's urgent for cineastes to seek the balance between spectacle and narrative basing on the national culture,and explore the suitable road for the development of Chinese spectacle movies.